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[null,"1.","Record Nr.",null,"UNINA9910782831403321"]
[null,null,"Autore",null,"Kivy Peter"]
[null,null,"Titolo",null,"Antithetical arts [[electronic resource] ] : on the ancient quarrel between literature and music / / Peter Kivy"]
[null,null,"Pubbl/distr/stampa",null,"Oxford, : Clarendon Press"]
[{"$nulls":4},"Oxford ; ; New York, : Oxford University Press, 2009"]
[null,null,"ISBN",null,"1-282-05345-0"]
[{"$nulls":4},"9786612053450"]
[{"$nulls":4},"0-19-156806-6"]
[null,null,"Descrizione fisica",null,"1 online resource (288 p.)"]
[null,null,"Disciplina",null,"780.08"]
[{"$nulls":4},"781.17"]
[null,null,"Soggetti",null,"Music and literature"]
[{"$nulls":4},"Absolute music"]
[null,null,"Lingua di pubblicazione",null,"Inglese"]
[null,null,"Formato",null,"Materiale a stampa"]
[null,null,null,"Livello bibliografico","Monografia"]
[null,null,null,"Note generali","Description based upon print version of record."]
[null,null,null,"Nota di bibliografia","Includes bibliographical references (p. [263]-267) and index."]
[null,null,"Nota di contenuto",null,"Preface; Contents; Part I: The Founding of Formalism; 1. First the Music, and Then the Words; 2. Designs À La Grecque; 3. Body and Soul; Part II: The Fortunes of Formalism; 4. Mood and Music; 5. Persona Non Grata; 6. Action and Agency; 7. Shostakovich's Secret?; Part III: The Fate of Formalism; 8. The Failure of Formalism and the Failure of its Foes; 9. Attention, Ritual, and the Additive Strategy; 10. Musical Morality; 11. Empty Pleasure to the Ear; Bibliography; Index;"]
[null,null,null,"Sommario/riassunto","Peter Kivy presents a fascinating critical examination of the two rival ways of understanding instrumental music. He argues against 'literary' interpretation in terms of representational or narrative content, and defends musical formalism. Along the way he discusses interpretations of a range of works in the canon of absolute music. - ;Antithetical Arts constitutes a defence of musical formalism against those who would put literary interpretations on the absolute music canon. In Part I, the historical origins of both the literary interpretation of absolute music and musical formalism are laid"]